Baoyang Chen (b. 1989) is an artist who works at the intersection of art and technology. He graduated from Columbia University with a master's degree. Chen's artistic practice originates from his thinking that technology is more than a way of making art, yet becoming a collaborator of the artist. He often hacks the technology by altering its default application, to further fulfill his artistic goal. He also writes about "Technology as Author." By synthesizing our collective experience with the desire to answer the ontological and ethical question of technology, he examines the boundary between us, machine, and beyond, in-between perceptual and embodied space.

His working tools are self-coded algorithms and innovative technics,
which can create for extremely chaotic surfaces; nonetheless a certain
order stems from the effortlessness with which they are constructed and
is ever present. His methodologies use computational formulae to
reconstruct the original tableaux in order to spawn new ones. In his
works, he wishes to acknowledge a concept of the “impossibility of
improvisation” – variation arises from standardizations, which has been
essential to his creative thinking and practice.

Recently Chen composes his works with the throughout investigation of VR and Crypto Mining, as well as surveying mass media's role of connecting the public, the industry, and technology itself, to symbolize the subdivision of our experience with respective technology, in order to distill the broader human technology relationship.
His solo exhibitions include Do Androids
Dream of Electric Cows (Gallery Yang, Beijing, China, 2017), The Framework
(Cloud Gallery, New York, USA, 2016). He has participated in group exhibitions
at a number of institutions and galleries, including Times Art Museum (Beijing, China0, the Riverside Museum (Beijing, China), the Power Station of Art (Shanghai, China), the BRIC (New York, USA),
The Dedalus Foundation (New York, USA), OpenHand OpenSpace (London, England),
Liu Haisu Art Museum (Shanghai, China), Los Angles Center for Digital Art (Los
Angles, USA), Wuhan Art Museum (Wuhan, China), National Art Museum of China
(Beijing, China), Museum of China Academy of Art (Hangzhou, China), Agora
Gallery (New York, USA), Gallerie Huit (Arles, France), Chambers Fine Art
(Chelsea, New York, USA), and Wook Choi Gallery (New York, USA).